‘The Fabelmans’ Lacks That Special Spark of Most Top-Shelf Spielberg Movies

‘The Fabelmans’ Lacks That Special Spark of Most Top-Shelf Spielberg Movies

By Lynn Venhaus

Dear Mr. Spielberg,
Your movies have given my family and I so much joy over the years. I was away at college the summer of 1975 when one warm July night, my roommates and I went to see “Jaws” at the local movie theater. You invented the summer blockbuster, and ever since, all your movies have been an event.

I introduced my children to “E.T.” first, and I still tear up every time I watch it. “Jurassic Park,” “Saving Private Ryan,” “Schindler’s List,” “Raiders of the Lost Ark” and “Lincoln” — you’ve made some of the best films of all-time.

“Bridge of Spies,” “Catch Me If You Can,” and “The Post” are personal favorites, and your adaptation of “West Side Story” was at the top of my Ten Best List last year.

So, I had very high expectations for “The Fabelmans,” especially after viewing the “Spielberg” documentary on HBO. I know it’s “loosely based on your childhood, from age 7 to 18, and it explores the power of how movies help us see the truth about each other and ourselves.

Maybe that adage, “Never meet your heroes” applies here.

Because, while I find the performances exceptional and the production elements superb, your retelling of your ‘semi-autobiographical’ coming-of-age story isn’t as magical as your other films.

THE FABELMANS, from left: Paul Dano, Michelle Williams, Seth Rogen, 2022. ph: Merie Weismiller Wallace / © Universal Pictures / Courtesy Everett Collection

Yes, you followed your dream, but turns out your childhood isn’t all that extraordinary. Except for the reason your parents’ marriage broke up, your early life was like many other kids – divorced parents, dad moving because of work, an artistic kid being bullied and for Jews, antisemitism.

Basically, you had a rather “Leave It to Beaver” childhood, not as vanilla as many a WASP, but fairly typical — your parents loved you and your sisters, attempted to give you a wonderful life, and your dad was a genius engineer.

As a filmmaker, you were too close to the subject matter, and needed to get out of your own way.

When you concentrate on discovering your passion for filmmaking and finding ways to tell a story, now that’s fascinating.

But all that high school drama with the mean jocks, yawn. Except for the Ditch Day film, which really highlighted your gifts and how people are revealed upon observation.

But — two and a half hours? And the best scene is at the end! You stuck the landing beautifully – and that little nod to Charlie Chaplin’s The Tramp before the credits roll, chef’s kiss.

That final encounter on the studio lot gives the film the zest that was missing – and it was the spark that propelled your drive to be in the business.

It’s the best cameo of the year, no spoiler from me!

Gabriel LaBelle as Sammy Fabelman

Your life as a golden boy of cinema has introduced you – and us — to worlds of wonder, and we feel like we know you.

The film is heartfelt and shows how much love you have for your family and the movie-making process. Artists must create and you have been able to make an impact on a global scale. Truly remarkable.

You will be remembered as one of the greatest directors of all time, and we see the effort.

I will wait for the sequel that discloses your early career milestones, breaking through in Hollywood, and the people that shaped you along the way. Now, that story may be the extraordinary one that I was expecting here.

Sincerely, an unabashed fan whose favorite thing is discussing entertainment, and thinks that all of life’s riddles are answered in the movies.

Back to the nuts and bolts for review purposes — Gabriel LaBelle makes quite an introduction as gawky young Sammy Fabelman, who makes movies using his Boy Scout troop as cast and crew.

Paul Dano and Michelle Williams are well-suited to play parents Burt and Mitzi, who bring up four children born during the post-World War II Baby Boom and moved the family from New Jersey to Arizona to Southern California before finally divorcing.

Williams has flashes of brilliance as the mercurial mom, a classically trained pianist whose concert days are past, but the longing isn’t. She’s in love with Bennie (Seth Rogen), Burt’s best friend, and they are eventually together.

When Sammy’s keen eye discovers a little too intimate interaction between the pair during a family camping trip, he’s devastated, resulting in viewing his mother differently. It’s a powerful scene when he shows, not tells, her what he saw.

That conflict is a major focus of the original screenplay co-penned by Spielberg and collaborator Tony Kushner.

A smaller one is his computer whiz dad thinking filmmaking is a hobby and that Sammy needs a more stable career pursuit, but that is a standard trope between artists and scientists. Dano’s quiet demeanor effectively contrasts with Williams’ more flamboyant personality.

Appearing briefly in a slight but showy role that screams supporting actor nomination, Judd Hirsch is an eccentric uncle who used to be in the circus and recognizes a kindred spirit in Sammy.

Young Sammy, who must react to his first film, “The Greatest Show on Earth,” in 1952, is played by standout Mateo Zoryan.

Janusz Kaminski’s cinematography is splendid, so is Rick Carter’s production design, and John Williams has produced a fine score.

But, there is just something nagging about a film that I wanted to be great, but is just good.

“The Fabelmans” is a 2022 drama directed by Steven Spielberg and stars Gabriel LaBelle, Michelle Williams, Paul Dano, Judd Hirsch and Seth Rogen. Rated PG-13 for some strong language, thematic elements, brief violence, and drug use, and run time is 2 hours, 31 minutes. In theaters Nov. 23. Lynn’s Grade: B

Take Ten with Jeff Faulkner, ‘Mr. Blue Sky’ Frontman

Take Ten with Jeff Faulkner, ‘Mr. Blue Sky’ Frontman

The ELO Tribute Band will Headline Show at Delmar Hall on Thanksgiving Eve Nov. 23

By Lynn Venhaus

Majestic splendor.

That’s the sight, sound and the vibe of Mr. Blue Sky, the St. Louis-based Electric Light Orchestra tribute band that makes sure every multimedia production is authentic.

With its 10 bandmates and dazzling visual imagery taking the audience both back in time and into the future, their intricate harmonies and musicianship stand out.

When Mr. Blue Sky takes the stage at the Delmar Hall on Nov. 23, the third time’s a charm for they have sold out that venue twice before (Hint: get tickets now, for the night before Thanksgiving is considered the biggest night out of the year. Tickets are available through Ticketmaster (see link at end of article). Doors open at 7 p.m., show starts at 8 p.m. Delmar Hall is at 6133 Delmar Boulevard.

Local legend Steve Ewing from the Urge (and Steve’s Hot Dogs) will open the show with his duo.

This special night will be different from their triumphant appearance at the Chesterfield Amphitheater two months ago (where they drew 1,500 people), for they like to mix it up for every appearance.

Veteran St. Louis musician Jeff Faulkner, who assembled the tribute band three years ago, said the Nov. 23 show will feature two new songs and a different setlist.

Jeff Faulkner of Mr Blue Sky

“We do all the hits — 22 top ten hits, we always play those,” Faulkner said. “Then we’ll play deeper cuts like ‘Face the Music,’ we play some Traveling Wilburys. We played the ‘Discovery’ album in entirety when we were at The Wildey.”

He enjoys introducing the symphonic rock icons to new fans and reminding longtime fans of their legacy.

“It’s really great music. I think Jeff Lynne is one of the best singer-songwriters in the history of rock ‘n roll,” he said. “He is a musical genius.”

Besides Faulkner on lead guitar and vocals, their all-star line-up includes Dave Watkins on lead guitar and vocals; Anastasia Hamilton, vocals; Abby Stahlschmidt, violin; Jessie Youngblood, violin; Jake Brookman, cello; Stephen Winter, keyboard and vocals; Charlie Brown, keyboard and vocals; Steve Bunck, drums; and Ben Moyer, bass and vocals.

The group’s musicians have performed with local heavyweights Pavlov’s Dog, That 80s Band and the St. Louis Symphony Orchestra. And have toured with The Who and Weird Al Yankovic.

Besides Delmar Hall, they’ve sold out shows at The Pageant, The Wildey Theatre, The Duck Room, and Ballpark Village. They recently performed in the Chicago area, at Impact Fuel Room in Libertyville, to a rocking crowd.

“A fair percentage of people that we’re playing for are familiar with ELO’s music – even if they don’t realize it. Probably 90% of them know ‘Mr. Blue Sky,’ Faulkner said. “They’re used in so many movies, so many commercials. Even if you don’t think you know ELO, you know ELO.”

Faulkner fell in love with the English rock band at an early age. Their fusion of modern rock and pop with classical overtones intrigued him.

ELO was formed in 1970 by songwriters and multi-instrumentalists Jeff Lynne and Roy Wood with drummer Bev Bevan, and following Wood’s departure in 1972, Lynne became the sole leader, arranging and producing every album – and wrote nearly all their original material.

Lynne disbanded the group in 1986, but Bevan formed his own, ELO Part II, which later became the Orchestra. Apart from a brief reunion in the early 2000s, ELO wasn’t active again until 2014, when Lynne reunited with Richard Tandy as Jeff Lynne’s ELO.

During their original 13 years of active recording and touring, they sold more than 50 million records, and had 15 Top 20 songs on the Billboard Hot 100. Their most successful album, the double album “Out of the Blue” in 1977, was among their top 10 albums in the ‘70s and ‘80s. They had a disco-inspired album “Discovery” in 1979 and a science-fiction themed “Time” in 1981.

In 2017, Bevan, Lynne, Tandy, and Wood were inducted into the Rock and Roll Hall of Fame.

Faulkner discovered that there wasn’t a tribute band in St. Louis, so he decided to go in that direction.

“It hadn’t been done before. With the strings and the orchestral sound, ELO is just different. That’s what makes it unique. We have a three-piece string section,” he said.

He is very proud of the work that the band has put into capturing “the majestic splendor.” “It’s taken a lot of work to get it there, but we have gotten it there,” he said.

To hear our PopLifeSTL.com podcast with guest Jeff Faulkner, co-hosted by Carl “The Intern” Middleman and Lynn Venhaus on March 11, here is the link:

Take Ten Q&A with Jeff Faulkner:


1. Why did you choose your profession?

“It’s what I’ve been most passionate about since I was 11 years old.”

2.  How would your friends describe you?

“Outgoing, and a big sense of humor.”

3.  What do you like to do in your spare time?

Traveling, seeing live music and theatre

4. What is your current obsession?

Rufus Wainwright

5. What would people be surprised to find out about you?

“I’m 9-1/2 years sober.”

6. Can you share one of your most defining moments in life?

“When my son was born.”

7. What do you admire most?

“Kindness, and humility.”

8. What is at the top of your bucket list?

“Going back to Europe and visiting Germany and Italy.”

9. How were you affected by the current pandemic years, and anything you would like to share about what got you through the pre-vaccine part?

“It shut down my industry completely for three months. I spent a lot of time hiking various trails, and binge-watching sit coms.

10. What is your favorite thing to do in St. Louis?

Hanging out in the Loop, Forest Park, and going to Blues hockey games

11. What’s next?

Mr. Blue Sky has great shows coming in 2023!

Mr Bue Sky


More to Know About Jeff Faulkner:

Age: 47
Birthplace: St. Louis
Current: Brentwood, Mo
Education: 2 years of college
Day job: Musician
First job: Dishwasher
What you like about what you do: I love everything about being a musician
Dream job: I have it
Awards/Honors/Achievements: Mr. Blue Sky has finished as a finalist for best cover band in St Louis Mag the last two years
Favorite quote/words to live by: Carpe Diem
A song that makes you happy: “Mr. Blue Sky”

For tickets, go to this link: https://www.ticketmaster.com/event/06005D3DCE0A667B?mibextid=Zxz2cZ&fbclid=IwAR37gHyVqGUviR-F-nx6R9f9nCr40MeDqWa73uNgxAjygW_PKglN4Yls_lM

For more on the band, visit: www.mrblueskymusic.com

Mr Blue Sky

‘She Said’ Is an Absorbing Historical Record With Lasting Impact

‘She Said’ Is an Absorbing Historical Record With Lasting Impact

By Lynn Venhaus
“She Said” is a brilliant chronicle of a watershed moment in American society — an important tipping point that helped launch the #MeToo movement and gave voice to countless victims.

In October 2017, two New York Times reporters Megan Twohey (Carey Mulligan) and Jodi Kantor (Jodi Kantor) broke the shocking story about sexual assault in Hollywood, able to get women on the record about powerful producer Harvey Weinstein’s three decades of abuse, shattering years of silence and altered American culture forever.

Framed as a scrupulous workplace account of two driven working mothers juggling their journalism careers and their young families, filmmakers infer that they helped make the world a better place for their daughters.

The absorbing narrative is as accurate as possible about journalism and the need to tell such important stories. Through vivid revelations, they show how much courage it took for people to come forward, risking their reputations and livelihoods.

With laser focus, director Maria Schrader has meticulously built a riveting drama from a sharp, incisive script by Rebecca Lenkiewicz, who adapted the 2019 nonfiction bestseller “She Said: Breaking the Sexual Harassment Story That Helped Ignite a Movement” by New York Times reporters Megan Twohey and Jodi Kantor.

The filmmakers’ skill and concern detailing a reporter’s process and a newspaper’s commitment to seeking the truth without any sensationalism or exploitation has resulted in a historic record that is in the same league as “All the President’s Men” and “Spotlight.”

The cast is stellar across the board, with Zoe Kazan, as persistent Jodi Kantor, and Carey Mulligan, as resilient Megan Twohey, presenting each reporter’s dogged determination, integrity, and professionalism. 

As an energetic team, they pound the pavement tracking down sources who worked for Miramax and The Weinstein Company, arrange meetings and convince people to trust them with the evidence. Women who were actresses, production assistants and employees agreed to go on record, and these truth tellers caused an explosion felt from coast to coast once articles were published in 2017.

Kantor and Twohey, who are still at the Times, won Pulitzer Prizes for their work here, along with Ronan Farrow, whose work at the New Yorker was going on at the same time.

But while the aftermath is brought up as the film’s coda, this 129-minute film stresses the diligent meat-and-potatoes work that exposed the insidiousness of rampant sexual harassment in Hollywood, and how broken the system was for women.

Schrader makes sure we hear powerful men shouting at the women, trying to intimidate them, but she also uses real voice transcriptions.

While it may not be as explosive cinematically as superhero adventures, the theme of right vs. might hits hard from people not wearing capes but whose guideposts are truth and justice. Patricia Clarkson plays conscientious Times editor Rebecca Corbett and Andrew Braugher portrays no-nonsense executive editor Dean Baquet as they make crucial decisions in covering the substantial allegations.

Fine actresses portray the brave past Weinstein employees who described his predatory sexual misconduct including Jennifer Ehle as Laura Madden, Samantha Morton as Zelda Perkins, Angela Yeoh as Rowena Chiu. Ashley Judd, who broke the dam by publicly coming forward, plays herself.

Important voice work is done by Mike Houston as Weinstein, Keilly McQuail as Rose McGowan and James Austin Johnson as Donald Trump. Johnson is best known for his interpretations on “Saturday Night Live.”

As the supportive spouses, Tom Pelphrey plays Megan’s literary-agent husband Vadim “Jim” Rutman and Adam Shapiro is Kantor’s fellow Times writer, columnist Jim Lieber. They add the emotional element of how difficult life-work balance is.

Composer Nicholas Britell’s dramatic score heightens the tension as people connected to the Weinstein empire confirm information and a deadline looms.

How many women have been helped or validated because of this story? Truly astounding what happened five years ago, and what continues. After their initial probe, more than 80 women accused Weinstein of crimes. Now a convicted rapist, the disgraced mogul eventually was sentenced to 23 years in prison and is currently on trial in another case.

“She Said” is so well-made and convincingly acted that it can’t help but continue much needed conversations at work and home. It’s an information-packed procedural with lasting impact.

“She Said” is a 2022 biographical drama directed by Maria Schrader and starring Zoe Kazan, Carey Mulligan, Andre Braugher and Patricia Clarkson. Rated R for language and descriptions of sexual assault, its run time is 2 hours, 9 minutes. It is in theaters Nov. 18.
Lynn’s Grade: A

‘Causeway,’ ‘She Said’ and ‘Selena Gomez’ Doc Earn CCA’s SOFEE

‘Causeway,’ ‘She Said’ and ‘Selena Gomez’ Doc Earn CCA’s SOFEE

The Critics Choice Association Women’s Committee is pleased to announce the third round of recipients of the newly launched Seal of Female Empowerment in Entertainment. Called the “SOFEE,” the Seal recognizes outstanding new films and television series that illuminate the female experience and perspective through authentically told female-driven stories.

The newest titles earning the SOFEE are:
Feature Film: “Causeway” (A24 and Apple TV+)
Feature Film: “She Said” (Universal)
Documentary: “Selena Gomez: My Mind & Me” (Apple TV+)

Starring and produced by Jennifer Lawrence, “Causeway” is an intimate portrait of a soldier struggling to adjust to her life after returning home to New Orleans.

“It’s a tremendous honor for the film to receive this recognition from the Critics Choice Association’s Women’s Committee,” said “Causeway” director Lila Neugebauer. “I’m sending enduring gratitude to the remarkable team who worked tenaciously to bring this movie to fruition.”

“She Said” recounts the tenacity of New York Times reporters Megan Twohey and Jodi Kantor as they expose decades of institutional sexual harassment and assault in Hollywood, and the system built around protecting abusers. Their dedicated reporting led to the #MeToo movement and created meaningful change in how women are treated in and outside the workplace. “She Said” is led by an incredible group of female filmmakers in front of and behind the camera, including director Maria Schrader and screenwriter Rebecca Lenkiewicz, and is based on The New York Times investigation by Jodi Kantor, Megan Twohey and Rebecca Corbett and The New York Times bestseller, She Said: Breaking the Sexual Harassment Story That Helped Ignite a Movement by Jodi Kantor and Megan Twohey. The film is produced by Dede Gardner and Jeremy Kleiner for Plan B Entertainment and is executive produced by Brad Pitt and Lila Yacoub and by Megan Ellison and Sue Naegle for Annapurna Pictures.

‘“She Said” is more than a film, it’s a public record. Filmed so close to the actual events, it’s a visual synopsis that can be revisited in 100 years to show audiences how women ‘jumped together’ to stop a predator, and a predatory system,” said Tara McNamara, Chair of the CCA Women’s Committee. “The drama is exceptional for featuring fully realized female characters who reflect expressions of gender that are rarely seen in film.”

Both “She Said” and “Causeway” received a perfect score in the numerical formula that is used to determine if new titles, which are nominated by CCA Women’s Committee members, are eligible for a SOFEE. Qualifying projects will have a prominent female character arc, give female characters at least equal screen time to male characters, have female leaders behind the scenes, and pass elements highlighted in the Bechdel test. To be considered, new film and television releases must possess an artistic and storytelling value and exceptionality, and score at least 7 out of a possible 10 points in the SOFEE rubric, which can be found at CriticsChoice.com. There are no limits or quotas governing the number of SOFEE seals the CCA may grant.

In the documentary category, “Selena Gomez: My Mind & Me” follows the singer-actress for six years as she opens up to reveal her struggles with anxiety, depression, Lupus, and bipolar disorder. Through her bravery in sharing her diagnoses, and as one of the first internationally known public figures to do so in this way, Gomez finds purpose in her effort to destigmatize mental illness and demonstrates to viewers that those struggling with their mental health are not alone. Directed and co-written by Alek Keshishian, the film clearly expresses Gomez’s voice and point-of-view.

“Our desire is that female writers and directors are given more opportunities to tell women’s stories, however, at this moment, more than 80 percent of working directors are men,” said McNamara. “‘Selena Gomez: My Mind & Me’ is a fantastic example of male filmmakers collaborating with a female subject to tell her unique experience with honesty and accuracy.”

The Seal of Female Empowerment in Entertainment is issued by the CCA Women’s Committee. Members include Tara McNamara (Chair), Hillary Atkin, Semira Ben-Amor, Christina Birro, Lauren Bradshaw, TJ Callahan, Natasha Gargiulo, Toni Gonzales, Teri Hart, Laura Hurley, Susan Kamyab, Louisa Moore, Gayl Murphy, Mary Murphy, Patricia Puentes, Christina Radish, Amanda Salas, Rachel Smith, Sammi Turano, and Lynn Venhaus, as well as CCA board member Paulette Cohn.

About the Critics Choice Association (CCA)
The Critics Choice Association is the largest critics organization in the United States and Canada, representing more than 580 media critics and entertainment journalists. It was established in 2019 with the formal merger of the Broadcast Film Critics Association and the Broadcast Television Journalists Association, recognizing the intersection between film, television, and streaming content. For more information, visit: www.CriticsChoice.com.

‘Black Panther: Wakanda Forever’ Honors Boseman and Girl Power

‘Black Panther: Wakanda Forever’ Honors Boseman and Girl Power

By Lynn Venhaus
Visually engaging and girl-power savvy, “Black Panther: Wakanda Forever” is at its most heartfelt grieving for its king, and the larger-than-life actor whose absence is deeply felt.

After the untimely death of King T’Challa’s death, Queen Ramonda (Angela Bassett), Shuri (Letitia Wright), M’Baku (Winston Duke), Okoye (Danai Gurira) and the Dora Milaje fight to protect their nation from intervening world powers and a hidden undersea nation. They work on forging a new path for the future of Wakanda.

There is so much goodwill for the cultural phenomenon that is Marvel’s first black superhero and the groundbreaking big, bold spectacle released in 2018 to universal acclaim, that it’s unfortunate the sequel suffers from sensory overload.

Technically, it’s dazzling, and the same elements that were so noteworthy in the first – seamless state-of-the-art visual effects, the cultural rhythms in Ludwig Goransson’s score, breathtaking production design by Hannah Beachler and costume designer Ruth E. Carter’s striking looks retain their grandeur.

New cinematographer Autumn Durald Arkapaw, an Emmy nominee for Marvel’s “Loki,” showcases fictional Wakanda’s natural beauty and makes the panoramic vistas shimmer.

At the 2019 Academy Awards, “Black Panther” won three Oscars – first ever for Marvel Studios — and also made history for Carter becoming the first African American woman to win in costume design, and Beachler, who was the first woman of color to not only win for production design but to be nominated. Goransson won for his score.

Lupita Nyong’o, Letitia Wright

With his keen eye for nature and scientific wonder, director Ryan Coogler is also mindful of presenting Wakanda’s customs and heritage as something very special.

Because the original was a game-changer, it was such a joyous experience along with other awed moviegoers. But now, after Chadwick Boseman’s tragic death from colon cancer in August 2020, the void is overwhelming and casts a large shadow over the film.

Coogler, who co-wrote the screenplay (and original) with Joe Robert Cole, offers a fitting tribute to Chadwick as T’Challa throughout the film, using footage of the actor in all his regal glory. That loss is inescapable – and the sadness is conveyed in the film’s characters, the actors playing the roles, and touching the audience.

It’s as if the film has the weight of the world on its shoulders and can’t transcend the reality that they were faced with in making the follow-up.

Then, there is the mammoth plot Coogler and Cole have crafted, turning the sequel into a very busy geopolitical thriller. To preserve their nation’s currency that is Vibranium, the royal family and warriors go to great lengths to protect their country. They must deal with shady U.S. operatives and a hidden under-the-sea nation not unlike the Aquaman lair.

As the enemies and conflicts become very complicated, it’s a chore to watch massive CGI battles with only perfunctory character interaction and only a smidgen of humor, especially for its 2 hours, 41 minutes runtime.

Tenoch Huerta

Nevertheless, the cast is strong top to bottom, with the spotlight on the extraordinary women. In fact, it might be the greatest advertisement for women to pursue STEM careers ever, showcasing their big brains using technology to solve problems and advance heroism.

In a much larger role, Angela Bassett is superb as smart and strong Queen Ramonda, with fearless Letitia Wright meeting her moment as brilliant scientist Shuri, a very different kind of princess.

Other forces to be reckoned with include fierce Danai Gurira as Okoye, resilient Lupita Nyong’o as Nakia and the new character, Dominique Thorne as Riri Williams, an MIT math whiz and innovative inventor.

Also impressive is Tenoch Huerta as Namor, the underwater kingdom ruler.

It goes without saying that you must stay for the additional scene after the first batch of credits, and yes, there are some surprising twists revealed throughout.

While the sequel seems to be more of everything, including its overstuffed plot that has three separate storylines colliding in messy fashion, it is still riveting.

Being an action-adventure based on a Marvel comic book has formula limitations, but “Black Panther: Wakanda Forever” surmounted the challenges faced by Boseman’s death as best it could. It’s just facing the harsh reality of T’Challa’s demise that brings it crashing down to earth. 

“Black Panther: Wakanda Forever” is a 2022 fantasy action-sci-fi-adventure directed by Ryan Coogler and starring Angela Bassett, Letitia Wright, Tenoch Huerta, Lupita Nyong’o, Danai Gurira, Dominique Thorne and Winston Duke.  Rated PG-13 for sequences of strong violence, action and some language, and 2 hours, 41 minutes’ long. It opens in theatres on Nov. 11. Lynn’s Grade: B


‘Spirited’ Is Star-Powered Merry Musical Comedy Take on Dickens

‘Spirited’ Is Star-Powered Merry Musical Comedy Take on Dickens

By Lynn Venhaus
Whether you embrace the holiday season by turning on Christmas music soon after Halloween or are in the “Bah, Humbug” camp year-round, “Spirited” may surprise you as a sweet-and-salty confection that’s both playful and parody.

A merry musical comedy that offers a fresh twist on the evergreen “A Christmas Carol” from the ghosts’ point of view also mocks the endless parade of holiday entertainment and its conventions.

And that’s refreshing, given that the Hallmark Channel has started its festive onslaught and other streaming services will churn out dozens of films before the new year. We all have our annual favorites, of course, and I wouldn’t be surprised if “Spirited” is among the perennials in years to come.

This flip on Charles Dickens’ 1843 novella is that the Ghost of Christmas Present (Will Ferrell, in charming doofus mode) selects one dark soul to be reformed by a visit from spirits on Christmas Eve. Sunita Mani is Past, Tracy Morgan is Yet to Come (in voice only), and Patrick Page is Jacob Marley.

He must find a selfish man who will see why he ended up miserable and alone, and why he should change. But his choice, an “unredeemable” marketing shark Clint Briggs (Ryan Reynolds doing his slick, sardonic persona) turns the tables and suddenly, Present is reexamining his life.

This bros-meets-Scrooged affair, co-written by Sean Anders and John Morris, is funny and clever, blending the 19th century behaviors with 22nd century attitudes, and Ferrell and Reynolds are quick with the quips and the wisecracks. Featuring Christmas movie Easter Eggs, there’s even an “Elf” nod, of course.

Anders and Morris are the writing team behind a string of genial just-folks comedies like “Instant Family,” “Daddy’s Home,” “We’re the Millers” and “Horrible Bosses 2.” They’re not re-inventing the wheel here, and this is entertaining enough to survive repeat viewings.

While kidding about “the afterlife is a musical!” and having a jaunty tone about the insertion of music numbers, “Spirited” is committed to the format. They’ve staged snappy song-and-dance numbers by choreographer Chloe Arnold, who’s been doing those delightful “Crosswalk musicals” and other numbers on James Corden’s “The Late Late Show.”

She knows what’s required of big splashy numbers, and the smiling dancers have pep in their steps – these are spirited homages on a major scale.

The songs are written by the current showtune golden boys Benji Pasek and Justin Paul, who recently produced and wrote original material for “Lyle, Lyle Crocodile.”

Pasek and Paul, who adapted “A Christmas Story” into a Broadway musical in 2009, are one award shy of an EGOT. They are Oscar winners for “La La Land,” Tony winners for “Dear Evan Hansen,” and their “The Greatest Showman” soundtrack won a Grammy Award and has sold over 7 million copies worldwide.

The funniest song here, not unlike the ironic “South Park” numbers, is “Good Afternoon.” The movie is bracketed by the tap-happy “That Christmas Morning Feelin,’” which is likely the catchiest takeaway. “Do a Little Good” is memorable and Spencer has a genuinely touching ballad “The View From Here.” Who knew she could sing? Or for that matter, Reynolds!

Ferrell, who showed his ease with music on “Saturday Night Live” — in such classic sketches as Marty Culp, along with Ana Gasteyer as his wife Bobbi Mohan Culp, who taught music at the Altadena Middle School, and the best-ever “More Cowbell” — is a natural, and Reynolds also demonstrates his willingness to have fun performing. (And he certainly fares better than Pierce Brosnan in “Mamma Mia!”)

The sweet part of the story is the Briggs family connections, and the director’s sister, Andrea Anders, a veteran of sitcoms including “Joey,” “Ted Lasso” and “Young Sheldon,” plays Reynolds’ sister Carrie, while Joe Tippett plays baby brother Owen and Marlow Barkley is the young niece.

This is a cheery, we’re not taking ourselves too seriously holiday offering where there seemed to be much effort made in getting all the elements right.

So, heat up the cocoa, haul the ugly sweater out of storage, and enjoy getting into the holiday spirit. May you have one of the the hap, hap, happiest Christmas movie watches since Bing Crosby tap-danced with Danny Kaye.

“Spirited” is a 2022 musical comedy directed by Sean Anders starring Will Ferrell, Ryan Reynolds, Octavia Spencer, Sunita Mani and Patrick Page. It’s Rated PG-13 for language, some suggestive material, and thematic elements, and the run time is 2 hours, 7 minutes. In theaters Nov. 11 and streaming on Apple TV + starting Nov. 18. Lynn’s Grade: B

Take Ten with Filmmaker Joey Puleo

Take Ten with Filmmaker Joey Puleo

‘A New Home’ Celebrates St. Louis’ Bosnian Community

By Lynn Venhaus

In “A New Home,” St. Louis documentary filmmaker Joey Puleo examines the story of Bosnian War refugees fleeing here 30 years ago.

The film, winner of the Best Documentary Feature at this summer’s St. Louis Filmmakers Showcase, will be presented on Sunday, Nov. 6, at 2:15 p.m. at the Galleria 6 Cinemas, as part of the St. Louis International Film Festival.

“This film was made as a complete labor of love. To be trusted with telling the harrowing and triumphant story of the Bosnians in St. Louis was not a responsibility that I took lightly,” Puleo said. “Their courageous resolve inspired me to give this film all I could give and I cannot wait for the opportunity to share this film with them and the St. Louis area.”

Puleo explained that when Bosnians fled their homes to escape the war in 1992, many ended up in St. Louis, largely because of its affordable housing and available jobs. The new arrivals began assimilating, starting their own businesses, and transforming a once dilapidated South City neighborhood in the shadow of the Bevo Mill into a thriving “Little Bosnia.”

Over the ensuing three decades, an estimated 70,000 Bosnians have migrated to St. Louis, making it the most inhabited area for Bosnians outside of Bosnia itself.  A New Home tells the story of these refugees’ perseverance and determination to not only start life over but prosper.

Puleo said nearly all the interview subjects will be on hand, including former Missouri Congressman Russ Carnahan, who is featured in the documentary.

Other luminaries in the film include Francis Slay, former mayor of St. Louis; Anna Crosslin, past president of the International Institute of St. Louis; Doug Moore, a former journalist at the St. Louis Post-Dispatch; Patrick McCarthy, author of “After the Fall: Srebrenica Survivors in St. Louis”; Ben Moore, Senior Researcher at the Center for Bosnian Studies; and five Bosnian War survivors and refugees.

When it premiered in July as part of the Showcase, it received an enthusiastic reception, and won Best Documentary Feature, with a selection for SLIFF.

“The audience response so far has been overwhelmingly positive, and we cannot wait for more people to get the opportunity to see ‘A New Home’ at the St. Louis International Festival,” Puleo said.

“With the war in Ukraine currently raging and thousands of its citizens displaced and seeking new homes, the plight of the Bosnians remains as relevant as ever,” Puleo said.

This film is his follow-up to “America’s Last Little Italy: The Hill,” which holds the record for most popular film ever screened at the St. Louis festival.

“America’s Last Little Italy: The Hill” was shown on Nine PBS and is available to stream on Amazon Prime and other platforms. It is also available for purchase as a DVD at local outlets, such as Schnucks grocery stores.

“A New Home” will be made available late November, Puleo said.

“Our plan is to have it available on Amazon Prime Video to either rent or purchase,” he said.

Executive Producer Rio Vitale and Puleo began pre-production in the spring of 2021, with hours of VHS footage and more than a thousand photographs generously donated to the project to utilize during the editing process.

A New Home

About The Creators:

Joseph Puleo, Director/Producer

Joseph Puleo was born on July 13, 1992, in St. Louis. He attended Lindenwood University and graduated from their school of film in 2014.

His short film, “Top Son” (2016) was a Top 5 finalist in Kevin Hart’s LOL Network “Eat My Shorts Competition” where it screened at the Just For Laughs festival in Montreal.

His debut feature-length documentary, “America’s Last Little Italy: The Hill” (2020) was shown on PBS stations across the country and received multiple awards.

Rio Vitale, Executive Producer

Rio Vitale was born in St. Louis, and has 40 years of experience in the financial brokerage industry. In 2014, Vitale published his first book, St. Louis’s The Hill. In 2016, he was knighted by the Italian government for his extensive work in the Italian community. In 2020, Vitale began a new venture into film production, executive producing the award-winning feature-length documentary, America’s Last Little Italy: The Hill.

Joey films Medina and Adis Hasanagic and their children

Here is our Take Ten with Joey:

1. What is special about your latest project?

“The story. My new documentary “A New Home,” is about Bosnian War refugees fleeing to St. Louis, which is now home to more displaced Bosnians than any other city in the world.

I think this film is going to be an eye-opening experience for a lot of people in the St. Louis area and I hope that everyone who watches the documentary leaves with a newfound respect for our Bosnian neighbors, I know I did making it.”

2. Why did you choose your profession/pursue the arts?

“I fell in love with the cinema going to the movies every Sunday with my Dad. From a young age, I knew that I wanted to be a filmmaker and my parents were always incredibly supportive of me and my dreams.”

3. How would your friends describe you?

“I think my friends would say that I’m an extremely, driven, focused, and intense person. They’d also probably reference my sense of humor as well which can be very sarcastic.”

4. How do you like to spend your spare time?

“Well, I haven’t really had any spare time at all in the last year since I’ve been so focused on finishing ‘A New Home’ in time for the St. Louis Filmmakers Showcase. But I am looking forward to taking it easy for a while and trying to relax and spend some time with my wife and our dog.”

5. What is your current obsession?

“I’m good for an Elvis kick about once a year, so with all of the buzz around the new Elvis movie I’ve been subjecting my wife to a lot of the King. “

6. What would people be surprised to find out about you?

Probably that I didn’t start out wanting to be a documentarian, but instead a comedic screenwriter/director. My first short film was a mockumentary called ‘Top Son,’ which was about a Tom Cruise impersonator. That film ended up being picked up by Kevin Hart’s LOL Network and showing at the Just For Laughs festival.  So, I think I took a lot of people by surprise in the St. Louis film scene with ‘America’s Last Little Italy: The Hill’ being a historical documentary.

7. Can you share one of your most defining moments in life?

“I originally went to Lindenwood University to study sports broadcasting/journalism. In my second semester, I was taking a class called “Intro to Television” that was taught by Rift Fournier, who had been a writer in Hollywood for 40 years working on TV shows like NYPD Blue and Charlie’s Angels.

After reading a few papers of mine, Rift called me into his office and told me that he thought I showed a lot of promise as a writer and a storyteller and persuaded me to change my major to film.

Being a filmmaker had always been a dream of mine, but being from the Midwest and coming from a middle-class family with no connection to Hollywood, I always thought it was too much of a long shot. Having someone like Rift tell me that he thought I had the talent changed the course of my life and I’ll forever be indebted to him.”

8. Who do you admire most?

“My dad, Joseph Sr.  – He instilled his work ethic in me and made sure that I always gave my best effort in anything I tried.”

9. What is at the top of your bucket list?

Professionally, to win an Oscar. Personally, to visit Sicily, specifically Cinisi, where my family is from.

10. How were you affected by the current pandemic years, and anything you would like to share about what got you through the pre-vaccine part, with shutdowns, and any lesson learned during the isolation periods?

“The pandemic happened right as we were completing, ‘America’s Last Little Italy: The Hill,’ so we had to make the very difficult decision of releasing that film knowing we weren’t going to be able to partake in any public screenings and forego having an in-person festival run.

But what got us through that time period was the incredible outpouring of support that we received from the St. Louis area and beyond. They really made us feel appreciated for this film that we had worked so hard on for two years. That was a very gratifying experience, although not the one that we had initially hoped for.”

11. What is your favorite thing to do in St. Louis?

It should come as no surprise, to visit The Hill and have a meal at any of the incredible restaurants.

12. What’s next?

Right now, I’m focused on our festival run for ‘A New Home.’ We are in talks with Nine PBS to possibly have the film be exclusively available to stream on their website for a period of time and then ultimately have the film end up on Amazon Prime. So. I’ve got a busy next few months ahead of me.”  

More about Joseph Puleo

Age: 30
Birthplace: (South) Saint Louis, Mo
Current location: Affton, Mo
Family: Wife, Julia, and dog, Birdie
Education: BFA in Digital Cinema Arts from Lindenwood University in 2014
Day job: Filmmaker
First job: Bag Boy at a grocery store

First movie you were involved in or made: Top Son, was my first “real” short film outside of college.

Favorite jobs/roles/plays or work in your medium? – The best documentary I have ever seen is Ezra Edelman’s, ‘O.J. : Made in America’

Dream job/opportunity: I’m living my dream

Awards/Honors/Achievements: Silver Telly Award for Best Historical Documentary, Nominated for Best Director & Best Documentary by the Mid-America Emmy’s

Favorite quote/words to live by: “Your job is to get your audience to care about your obsessions.” – Martin Scorsese

A song that makes you happy: “Hold Me,” Fleetwood Mac

Mujo Sehic. one of the interview subjects 


Affton High Graduates – Dzenan Miminovic, Nejva Osmanovic, Nerma Krantic, Adem Niksic 

Sightlines: Hawthorne Players’ ‘Curious Incident’ Shows The Artistic Possibilities That Can Happen Here

Sightlines: Hawthorne Players’ ‘Curious Incident’ Shows The Artistic Possibilities That Can Happen Here

By Lynn Venhaus
Area theatergoers, you must see “Curious Incident of the Dog in the Night-Time,” now playing at the recently renamed Florissant Performing Arts Center, presented by Hawthorne Players through Nov. 13.

Opening night Friday was a testament to a production fulfilling its promise and meeting the moment, truly raising the bar for the entire St. Louis theater scene.

Knowing what Ken Clark is capable of as a director and scenic designer, and recognizing members of the cast and creative team, I purchased tickets to see it as a patron, not as a professional critic (do not review community/school theater) or an AFL judge (which I did for 10 years, but no longer in that role). My schedule does not permit me to get to everything I’d like to see, but lo and behold, Nov. 4 opened up.

Winner of five Tony Awards in 2015 and seven Olivier Awards in London, this immersive drama is one of the most unique theatrical experiences you will ever see — and also one of the most moving. Simon Stephens adapted the book by Mark Haddon, which takes us on a journey inside the brilliant mind of Christopher, who struggles to process everyday information, and has sensory perception issues.

Recent upgrades to the theater — the auditorium is part of the Florissant Civic Center — have enabled next-level technical work. The ‘Curious Incident’ creative team is the first to use the new projectors, and it adds so much.

However, technological bells and whistles are only as good as the creative minds behind the set, sound and lighting designs — bravo to lighting designer Eric Wennlund (his “The Spitfire Grill” was sublime, an AFL award winner), sound designer Jacob Baxley, who also composed the music score (!), and scenic and projection designer Ken Clark. Remarkable work.

Mike De Pope, Daniel Wolfe. Photo by Wolfe Creative Media Services.

Delivering the show’s heart, getting the ‘mind’ of the material right, is a tight ensemble. Dan Wolfe is exceptional as Christopher, and you can’t get up to leave immediately after the curtain call (standing O Friday), or you’ll miss his terrific coda. The youngster, who won a Best Performance Award from AFL last summer for “Annie,” displays how much effort he put into making Christopher as authentic as possible. It’s a tour de force.

Mike De Pope and Jennelle Gilreath Owens are strong as the parents, Natalee Damron is the sympathetic and firm teacher Siobhan, and a fine group of local actors perform multiple roles, including Jeff Kargus, Marian Holtz, Elle Harlow, Patrick Brueggen, Hunter Fredrick and Jessica Kelly.

The dialect work is superb — and consistent, and the coaches, with UK roots, are Robert Ashton and Gwynneth Rausch. Special mention to assistant director and choreographer Stefanie Kluba for staging the crisp movements that add to this show’s tapestry, and to ace veteran costume designer Jean Heckmann.

Lobby photo.\ by Lynn Venhaus

It’s indeed a triumph for all involved, and especially for the Hawthorne board of directors, for greenlighting such a challenging work.

Now in its 75th season, the group has been celebrating throughout the year. Take time to look at all the historical items in the lobby — and you can take a chance on a stunning quilt Jean Heckmann made including some of their shows. The quilt drawing is set for after their final show of the year, “Cowboy Christmas,” on Dec. 10.

This show’s level of difficulty is high, and anyone who has seen it before — whether Broadway, London or locally, is aware of its demands. In 2017, The Repertory Theatre of St Louis’s production blew me away. Several months later, it was honored as Outstanding Drama Production by the St. Louis Theater Circle, of which I am a founding member.

Dan Wolfe. Photo by Wolfe Creative Media Services.

I remember talking to Steve Woolf, the late great artistic director of The Rep, who had seen the show in London , and felt he had ‘cracked the code’ on how to make it work at the Rep.

In a column after his untimely death in 2021, I wrote:

“During rehearsals for the stellar “All the Way” in 2015 (I was there to interview Brian Dykstra, playing LBJ, and Woolf, who was directing — https://www.bnd.com/living/magazine/article34672659.html), he told me about his experience seeing “The Curious Incident of the Dog in the Night-time” in London.

He had been gobsmacked. He didn’t think The Rep could do it — very technical show, intricate — but the wheels were turning. He was so excited about trying to bring it to The Rep. “I think I’ve found a way we can do it,” he said to me later. (more of that article, https://www.poplifestl.com/sightlines-remembering-steve-woolf/

In 2019, Actors Attic, a youth-focused theater group in Columbia, Ill., won several Theatre Mask Awards, presented by Arts for Life, for its ambitious production directed by MaryBeth Scherr Babcock. As far as I know, they’ve been the only local group to tackle it until now.

Yes, this is high praise. And yes, it’s that good. This column isn’t intended to review the show, only to urge people to fill seats of Flo PAC. It takes a village to put on a show as risky and rewarding as this, and they pulled it off in spectacular fashion, so I wanted to honor their efforts. All that work was worth it — but they deserve an audience.

GO SEE IT and support live theater. We need the arts and how it connects people more than we ever have.

(Fun Fact: As a news reporter and feature writer at the St. Louis Globe-Democrat, I told then-entertainment editor Frank Hunter that I had a theater background and would be available to review local theater if he needed a hand. One of my earliest assignments that I recall was “Carousel” at Hawthorne Players in 1984.)

‘Curious Incident’ is performed Nov 4, 5, 11 and 12 at 7:30 pm, with a matinee on Nov. 13 at 2 pm at the Florissant Performing Arts Center.
Tickets may be purchased online at https://florissantmo.thundertix.com/events/199113
For more information and sensitivity warnings, go to www.HawthornePlayers.com

Cover photo by Wolfe Creative Media Services

Ensemble on the train. Photo by Wolfe Creative Media Services.
Dan Wolfe, Jennelle Gilreath Owens. Photo by Wolfe Creative Media Services.

Alex Winter Returns to SLIFF With ‘The YouTube Effect’ documentary

Alex Winter Returns to SLIFF With ‘The YouTube Effect’ documentary

By Lynn Venhaus

After decades in the entertainment business, Alex Winter has become a multi-hyphenated mainstay, renowned for his work in front of and behind the camera.

Now 57, he remains the face of Bill S. Preston, Esq., in pop culture, but has directed notably high-profile documentaries “Zappa,” “Showbiz Kids” and his tech trilogy, “Downloaded,” “Deep Web” and his latest, “The YouTube Effect.”

“The YouTube Effect” will be one of the opening night films of the 31st annual Whitaker St. Louis International Film Festival. It will be shown at 6:45 p.m. on Thursday, Nov. 3, at the Galleria 6 Cinemas.

This cautionary tale is meant to be a nuanced look at the tech revolution, how it has evolved, good and bad.

Produced with Gale Anne Hurd, the film examines the impact of YouTube on society, how it has made our lives easier and more enriched, while also presenting dangers that make the world a more perilous place.

“The growth of the online community since I made ‘Downloaded’ and ‘Deep Web’ has made a big impact on society, and Gale and I were looking to tell a story about the changes occurring, and where do we go from here,” he said during a phone interview.

The film had its world premiere at the Tribeca Film Festival in June and is currently on the festival circuit, most recently at the Montclair Film Festival.

“It’s been going great,” he said. “We’re bringing it to a lot of festivals, and really happy with the reception.”

Winter is pleased that it’s included in this year’s fest in St. Louis, where his previous films “Downloaded,” “Deep Web” and “Zappa” were also screened.

“I love the festival. It’s my third time in it. I’m always really happy to be part of it and I’m grateful for the film to be shown there so that people in St. Louis can see it,” he said. “I’m not able to be there, things didn’t work out with my schedule, but I’m long overdue for a visit back. I have family and friends there.”

Winter lived in St. Louis as a child, and his first acting gig, a commercial for Kentucky Fried Chicken, was filmed under the Arch, while his first stage role was at the Muny, when he was 10, as one of the orphans in “Oliver!” that starred Vincent Price as Fagin.

His father co-founded Mid-America Dance Company (MADCO) and his mother worked in the dance department at Washington University.

In a previous interview, he spoke about his bond with St. Louis.

“I have a special place in my heart for the city. I’ve always considered myself a Midwesterner. The Midwest has a strong cultural identity, and I have an affinity for it, those core values. I still have a lot of friends there. I spent my formative years there, from 5 to 12, and my dad and brother stayed there, so I was back a lot. It’s always been a second home to me. I feel anchored there,” he said during a phone interview in 2015.

The YouTube Effect

Looking at YouTube

Self-described as a research fanatic, he eagerly dove into this expansive subject.

While he thinks YouTube has been “very equitable in its business model,” for people being able to monetize it as a platform, there needs to be safeguards.

“So that people can have the full spectrum of experiences. There needs to be accountability. It’s not going to happen overnight, but it’s good for people to be aware about it,” he said.

Winter thinks the public needs to take more responsibility about the input and influence, and push for more regulations, not be passive about it.

Winter said he is concerned about “the misinformation apocalypse” and the negative fallout from political ideologies, especially conspiracy theories.

“There is a lot of power in that,” he said, noting how social media gave voice to marginalized people.

YouTube has been singled out as how the Christ Church mass shooter in New Zealand in 2020 (51 people in two mosques) became radicalized.

The movie seeks to find a balance, he said.

“There are a lot of good things going on on You Tube. I’m not wagging a finger at them,” he said. “I respect technology. It’s here to stay. We need to figure out safeguards, changes need to be made.”

Here’s the trailer: https://www.facebook.com/YouTubeEffect/videos/1137513703766536/

Winter said he is in negotiations for the film to become available on streaming services.

“I can’t talk about it, but we’re hoping to have it wide in early January-February,” he said.

For more information, visit: https://www.cinemastlouis.org/sliff/festival-home

Alex Winter (left) and Keanu Reeves in a promotional photo for Bill and Ted’s Excellent Adventure

Fest Favorite

Winter appeared at the festival in 2015, when he received the prestigious Charles Guggenheim Cinema St. Louis Award after his documentary, “Deep Web,” kicked off that year’s St. Louis International Film Festival.

“Deep Web” is the inside story of a digital crime saga that caught his attention. With access to the Ulbricht family, he told the story of  Ross William Ulbricht, the 30-year-old entrepreneur who was accused of being “Dread Pirate Roberts” as the creator and operator of the online black market Silk Road. He looked at the thought leaders behind the so-called Deep Web and its future.

A finalist for a distinguished Cinema Eye Honors Award, “Deep Web” was produced and narrated by Keanu Reeves, Winter’s good friend since they portrayed Bill and Ted.

He was also in attendance to present the 1989 cult classic that catapulted him into pop culture history, “Bill & Ted’s Excellent Adventure,” recounting anecdotes about the making of the movie prior to its late-night showing at the Tivoli.

The fest also showed acclaimed 2013 documentary, “Downloaded,” about the rise and fall of Napster and a look at the digital revolution.

“I was fascinated by the online communities that started in the late 1980s. It was clear that this was a major shift in communication. Bitcoin, Silk Road and other anonymous digital sites were the first on a large scale,” he said in 2015.

In 2020, when the fest went virtual, his documentary, “Zappa,” was in the line-up.

His look at the complex and visionary iconoclast Frank Zappa took six years to make, and he received cooperation from the family.

“Getting the family’s support was vital to the project,” he said. “There has never been a definitive biography about him. I am extremely happy to do it. He was a great artist at a turbulent time in history.”

It is available to watch on Hulu and can be rented or purchased on several platforms.

The year “Zappa” came out, during the global coronavirus pandemic, was also the year his very personal documentary, “Showbiz Kids,” premiered on HBO, and the third installment of “Bill and Ted,” “Face the Music” was one of the most anticipated films in 2020.

“That was a very strange year,” he said. “Things I had been working on all popped out at once.”

“Face the Music” shot to no. 1 in U.S.

“It came out at the right time, and a lot of people got to see it. I’m glad it gave fans some fun then,” he said.

Winter said he and Keanu had a great time making the film and won’t shut the door on another one.

“It was a lot of fun,” he said. “We’re always playing around with ideas on where the story could go, what are the possibilities. I always say never say never.”

Other Career Highlights

His movie career took off with “The Lost Boys” in 1987, then came the juggernaut of Bill & Ted, and they reunited for a sequel in 1991.

His 1993 science fiction-horror-comedy “Freaked,” which he co-wrote and co-directed with his college pal-collaborator Tom Stern, is revered as another cult classic.

Another feature he wrote and directed, “Fever,” a 1998 dark tale starring Henry Thomas and Teri Hatcher, was selected for the Directors’ Fortnight at the Cannes Film Festival.

His work on Cartoon Network, where he voiced the Adult Swim character the King Mole Man, was on two episodes of “Robot Chicken,” and MTV’s “The Idiot Box,” a sketch comedy series he developed with Stern, was also highly regarded.

He is a graduate of New York University’s film school. Today, his production company is behind commercials for Ford, Peugeot, Kellogg’s Frosted Flakes, Nickelodeon and 1800 Tequila.

He’s directed music videos for Red Hot Chili Peppers, Ice Cube, Extreme and Helmet.

He was on Broadway in productions of “The King & I” with Yul Brynner, and “Peter Pan” with Sandy Duncan.

With Stern, Winter starred in, co-directed and co-wrote the hit MTV comedy series, “The Idiot Box” and starred in their theatrical co-directing debut, “Freaked,” released by Twentieth Century Fox.

Another documentary was “The Panama Papers,” about the corruption scandal and the journalists who broke the story.

Next up is a cameo role as a cab driver in “Blue’s Big City Adventure,” to be streamed on Paramount Plus on Nov. 18. He’ll be seen in “Absolute Dominion” on Netflix next year, and a film “Destroy All Neighbors” on Shudder.

For the 2015 BND feature: https://www.bnd.com/living/magazine/article42065412.html

Cover Photo by Eric Charbonneau/Invision for AwesomenessTV/AP Images

NEW YORK, NY – APRIL 30: Director Alex Winter speaks onstage at the TechCrunch Disrupt NY 2013 at The Manhattan Center on April 30, 2013 in New York City. (Photo by Brian Ach/Getty Images for TechCrunch)

Genial Cast Nimble in Simon’s Creaky ‘Barefoot in the Park’ at Moonstone

Genial Cast Nimble in Simon’s Creaky ‘Barefoot in the Park’ at Moonstone

By Lynn Venhaus

With its jaunty game-show music and kicky retro fashions, Moonstone Theatre Company’s staging of Neil Simon’s “Barefoot in the Park” is a throwback to amiable, innocuous 1960s-era sitcoms.

Only the Wayback Machine hasn’t been kind to Simon’s first major success in 1963, a fluffy lighthearted comedy about a couple with opposite personalities starting married life. They live in a fifth-floor walk-up apartment in Manhattan’s Greenwich Village, which becomes a running gag.

A smash hit that ran four years on Broadway, the breezy trifle was directed by Mike Nichols, garnered four Tony nominations and he won for directing. In 1967, the popular movie adaptation paired Robert Redford, the original Paul on stage, with Jane Fonda as the ditzy Corie, and the sublime Mildred Natwick recreated her scene-stealing timid mother role. The play went on to be a beloved staple of school, community, and dinner theater. It was a go-to during high school speech meets for duet-acting partners back in my day.

But that was then, and this is now.

Sixty years later, it’s flimsy rather than frothy — a period piece that probably wouldn’t make the cut for a 1960s-time capsule if selections were today, despite Simon’s hit-making machine status.

The antiquated attitudes on wives and mothers are hard to surmount – we’ve come a long way, baby. I suppose looking back at the pre-feminism years reinforces how times have changed. But engaging? Not so much.

The dialogue reflecting the time’s societal mores is sometimes cringy. Corie’s widowed mom advises: “Make him feel important. Give up a little of yourself. If you do that, you’ll have a happy and wonderful marriage — like two out of every 10 couples.”

Moonstone has set the show in 1966. The cast tries hard to toss off one-liners with some pizzazz but are hampered by how dated the wisecracks sound.

However, the cast gets the rhythm of Simon’s trademark patter, and the genial performers supply several bright spots because of their commitment to the characters.

Particularly funny are well-known veteran actors Chuck Brinkley, who plays the jovial telephone repairman – back when rotary dial was standard, and a Princess phone was fancy — and Bob Harvey, doing funny physical schtick as a huffing-and-puffing delivery man. Ever reliable, the old pros’ brief bits are amusing.

Appealing performers Luis Aguilar and Rhiannon Creighton convey the newlyweds and do what they can to enliven the creaky conversations, but the thinly drawn Mr. and Mrs. Bratter roles have never seemed so bland. They move in after a 6-day honeymoon, and all the character tics appear to aggravate.

This depiction, when the man was the breadwinner and the woman was the happy homemaker, is simply stale.

While cheery and sweet at times, bride Corie does come off as clingy, whiny, and shallow in other moments. Intended as an early image of Simon’s adored first wife Joan, Corie is not as interesting as screwball heroines of days gone by because there’s not much character development. She’s advertised as a ‘free spirit’ but seems tamer in retrospect.

Domestic bliss is threatened because she fears her fuddy-duddy lawyer husband, who is trying to concentrate on his job, will never be spontaneous, like she is. For instance, he wouldn’t walk barefoot in Central Park on a frigid winter day.

Luis Aguilar and Rhiannon Creighton. Photo by Jon Gitchoff

Faring better, although stuck in the tired stereotype of hovering suburban mom, is Jilanne Klaus as widowed Ethel. She’s in her 50s, an empty nester in New Jersey, and dull as dishwater. But she will soften and lighten up. Oh, the agism jokes! Let’s get the retirement home ready!

Corie’s perturbed that mom keeps sending wedding presents almost daily from Lord and Taylor. Oh, the horror.

The hijinks ramp up when Corie fixes up her uptight mother with the nutty neighbor Victor Velasco for a dinner double date. Starting off with exotic gourmet food and braggadocio, the eccentric Hungarian charms the ladies, but Paul immediately dislikes the international man of mystery.

And the night, fueled by assorted alcoholic beverages and dinner in Staten Island (offstage), gets wild and crazy – especially for the stick-in-the-mud mom and husband. But Corie and Victor are kindred spirits.

Slapstick-y wackiness ensues, and Aguilar deftly displays a flair for physical comedy. TJ Lancaster wisely decides not to go too over-the-top playing the live-wire lothario who lives in the attic. He and Klaus demonstrate they are smart, instinctual performers whose crisp comic timing and ease on stage is a plus.

Those two gave a master class in recalibrating their moves when the pair, mindful of a hump in the set’s area rug, acted nonplussed and went on with the show, careful where they stepped during Friday night’s third act.

When the inevitable blow-up occurs in act two – because Paul is a “watcher” and Corie is a “doer,” the couple’s bickering becomes tedious while we’re waiting for the happy-ever-after resolution. No suspense there. Although the fact they didn’t realize their differences before wouldn’t seem to bode well for the future (nevertheless, the Simons were married for 20 years until Joan’s death from cancer at age 41).

One of the most commercially successful playwrights of all-time, Simon, who started writing comedy sketches in the pioneering days of early television, made a career out of first world problems – only the world never really intruded into his work until the brilliant Eugene trilogy, starting with “Brighton Beach Memoirs.”

His customary white middle-class struggles were usually connected to relationship clashes, poking fun at human foibles and using self-deprecating humor, which frequently included Jewish characters in urban settings.

So, the pleasant bon mots and jokes on the squalor of a tiny big-city apartment are expected.

Only, the set isn’t so small. While acclaimed scenic designer Dunsi Dai’s work is a perfect palette of pastels reflecting the time, and his skylight is certainly a “Wow,” it’s too spacious for a supposedly cramped one-bedroom apartment. (If you have been in modest New York City apartments, you know, unless you assume they’re all like “Friends.”)

And the setting is not practical for stage movement, for Creighton must scamper quite a bit – it’s a good thing she’s energetic because we watch her take a lot of steps as she crisscrosses for unpacking, decorating and scene requirements. In a modern setting, she’d be killing it on Fitbit. Director Sharon Hunter’s blocking seems clunky because of the larger dimensions.

Patrick Sullivan’s striking lighting design capably illuminates the night sky, and Amanda Werre’s sound design is smooth.

Michele Siler’s costume designs are noteworthy, having ideally captured the period’s everyday apparel for the women, and Emily Fluchel nails the props – the suitcases, kitchen wares and knickknacks.

Despite it being Simon’s longest-running hit, this would be difficult to pull off in any 21st century theater because it feels synthetic. Nevertheless, the performers’ chemistry and nimble line delivery elicit laughs.

Like so many other plays that depend on a mundane premise to begin with, “Barefoot in the Park” is an unusual classic to present because of the shift in male-female dynamics. No amount of rejuvenation can resuscitate it, despite this likable ensemble and their earnest efforts.

Moonstone Theatre Company presents Neil Simon’s comedy “Barefoot in the Park” from Oct. 27 through Nov. 13 at the Kirkwood Performing Arts Center’s black box theatre, 210 E. Monroe Ave. Showtimes are Thursdays through Saturdays at 7:30 p.m. and Sundays at 2 p.m., except there is no show on Friday, Nov. 11, and two shows on Saturday, Nov. 12, at 3 p.m. and 7:30 p.m. For tickets or for more information, visit: www.moonstonetheatrecompany.com.

Jilanne Klaus, Rhiannon Creighton, Luis Aguilar. Photo by Jon Gitchoff